Robin

About Robin

Occasional painter. Golfer. Fascinated by humanity. Passionate about beautiful stuff, the people who create it and its narrative.

A Sudden Death

That awful unexpected phone call. He’s dead. Your world kind of crumples. Incomprehension. Nausea. Anger. Family members converge from all over; they hang on each other’s necks and sob. Fast forward three weeks. Boat-scattered ashes and roses intermingle on the surface of a river with two hundred friends and relatives cheering. A fitting send-off for this big-hearted husband, brother, father and friend loved and admired in equal measure. Poignant, almost joyful, beautiful stuff.

Bruce

Do not believe that your sudden death or a sudden death in your family is not in the deck of cards from which fate is dealing your hand. For your family’s sake, think now about the possibility of your sudden death. Have you written a will? Where is it? If it is not obvious, who is your formal next-of-kin? And if that person is indisposed, who might stand in? Make sure someone knows what you want done. Do you want to be an organ donor? Do you want to be buried or cremated? Do you want a religious or non-religious ceremony? Where will the grave be or the ashes scattered? Is there a charity you would like to support as an alternative to people paying for flowers or gifts? It is surprisingly important for your family to know what kind of music you would want played.

All your paperwork will be required by your family. Can someone else find your bank accounts, insurance policies, birth and marriage certificates, passport, national health card, your doctor’s name and address, national insurance number, mobile phone provider, your address book and many more. Accounts have to be accessed and closed. Make sure that passwords can be retrieved. I cannot stress this enough, make sure passwords can be retrieved.

And so to the family. You will find yourselves having to function practically in new emotional territory precisely when you are all in emotional turmoil. You will face a mountain of tasks. First, how do you tell everyone who has to be told? There is an outgoing phase of painful telephone calls, emails and facebook messages. Be prepared for the incoming phase from distressed family, friends, former colleagues, old school pals, team mates etc. Be prepared for people calling round throughout the day. Be prepared for their emotions. Be prepared for his mobile phone ringing. Be prepared for bizarre comments (such as a suggestion that the grieving wife might find solace in on-line dating!) Be prepared for more flowers than the house’s vases can accommodate. Be prepared for bundles of cards ranging from the touching, to the cute and even the distasteful. Be prepared for more cakes, casseroles and home-made biscuits than you all can possibly eat. Be prepared to be bowled over by peoples’ kindness. Be prepared to hear so many times “If there’s anything at all that we can do…” Just smile and say “Thank you.” Throughout all this, you will find steel friends.

Seemingly small practicalities kick in hard. Did he pay the car insurance that was due? Didn’t he have a dental appointment this week? Should we inform the police that there is no longer anyone with a shotgun certificate for the shotgun in the safe upstairs?

And there is more. Much, much, more. Be prepared, in parallel and from the first day, for the legal and administrative matters relating to a sudden death. This – in the UK – involves the police, a funeral director, the coroner’s office and the registrar of births, deaths & marriages. The procedures and papers to be completed are different from those of an expected death. For example, there is no medical certification of death. A heavyweight moment for everyone is the formal next of kin being informed of the cause of death. This precipitates another wave of outgoing messages to those who said they wanted to know.

The officials you deal with in person or by phone can be caring and sympathetic or they can be infuriatingly incompetent and rude. All is set to test your self-control. For any meeting or signing, carry all his official documents and carry all your official documents and proof of address. Make sure you have cash and that credit card payment will not be rejected. Certificates and services such as cremation have to be paid for up front. See your bank manager as early as possible. Probate, life insurance, pensions and savings have to be taken in hand. You will find on-line how to inform different government agencies such as those responsible for driving licence, tax, passport, health care etc.

In the first two weeks, one person should be the point of contact for and coordinate all this on behalf of the family. At all costs, avoid misunderstandings and confusion. Buy a book to write everything in. Record all contacts, meetings, telephone numbers and decisions. Encourage everyone to write any new contacts, suggestions or developments in it. Have a “team meeting” each day initially. Opinions differ. Listen to others. Be flexible. Cry together. Hug.

A reality creeps up on you and sinks its claws in. There are “arrangements” to be made. This is where your time and energies are expended. The funeral director needs to discuss burial versus cremation, choice of casket, flowers, the urn for ashes and what kind of event is being planned (we went for and recommend a humanist ceremony), where and when. Ask questions. Say what you want. Be firm. And then… Do you want to view your dead husband, brother, father? What clothes is he going to wear? This stressful stuff comes with short deadlines, a need for rapid decisions and long daily to-do lists.

Discussions and decisions increasingly focus on the event that symbolises public grieving: the cremation, memorial service, the funeral, the wake, the scattering of ashes or combinations thereof. Its organisation by necessity starts early. Get it right. I repeat, get it right. This is so important for you. Do not leave things for tomorrow that can be done today. The team meetings really help. Share the tasks. Here’s a checklist: What would he want? What do you want? Where and when? Who will be in charge of the ceremenony? Will that person be religious, civil or humanist? (The funeral director will have people on their books. Meet them beforehand.) How do you announce the event whether to individuals, collectively and publicly? (We found social media very useful. The funeral director can organse a local press announcement) How long will the event last? Critically, how will it end? Who will write the eulogies? Who will read the eulogies? (Gulp!) Who will read what poems? What about songs? What is your estimate of how many people will come? Decisions have to be made about orders of service, flowers, food, drinks, music. How can guests contribute to the chosen charity? Visit the event location well beforehand. Develop a working relationship with whomever is in charge. Check the seating. Check the sound system and microphones. Who will cue the music? Will guests be asked to place a photo or object on a memory table? Will they write in a book? If ashes are to be scattered, where will this be, when and will this be in the presence of other mourners? Do you have permission to scatter them there? Avoid surprises.

A great send-off is a great part of healthy grieving. It really is possible to organise it in those difficult early days. Doing so brings the family together. So line it all up. Take a big breath in and let the show begin. Be ready for unexpected guests and expected gusts not coming. Be ready for tears. Lots of tears. Your tears, your familys’ tears and the tears of others. Tears are great ! Let it all out and you will feel, for the first time since the phone call, that maybe there is still a glimmer of sun behind that big, black, heavy storm cloud.

Print this out. Keep it safely. If you need it one day (and I hope you don’t,) you will really need it.

It’s her day!

Andy Denzler 1

Andy Denzler “Liquid Walking Woman” 2016 Bronze

I stroll through down-town Geneva. It is hot. Very hot. Every-language tourists swarm the luxury shrines to chocolate and watches. A stunning new bronze sculpture in Place de Longemalle stops me in my tracks. It is a young woman in hoody, cut-off denim shorts and trainers walking with confidence. She holds a smartphone. Like her living counterparts, she seems unaware of her allure or the conveniences brought by smartphone culture. She is constructed of horizontal segments re-stacked. The texture contrasts effectively with the smooth skin of the presumed model. Somehow, this sculpture captures the young woman of today. It is very beautiful and very gratifying.

Andy Denzler 2

Andy Denzler “Selfie” 2016 Bronze

I look around for the plaque that names the genius behind this work. Instead, I spot the same young woman only forty metres away. She has both feet firmly planted and her smartphone held up towards her other self striding to meet her. She has that small-screen look of concentration. Is she photographing her twin, taking a selfie, recording the street scene or checking her make-up? I am captivated by these works individually and as a pair. Finding them makes my day. I wander round them admiring the poise, youth and statement that the sculptor has accomplished here. Eventually, I find a little sign that tells me these are recent works of Andy Denzler from Zurich. They are presented by and just outside the Opera Gallery.

Andy Denzler 3

Andy Denzler “Selfie” 2016 Bronze (detail)

I did not grow up in the internet era nor even with a mobile phone. Denzler’s subject cannot possibly know existence without a smartphone. It is also her camera, her street map, her address book, her pen and paper, her mirror, her compass, her library, her photo album, her stereo, her shopping mall, her magazines, her cinema and much more besides. Her friends and friends’ friends, real and virtual, are connected, categorized and communicated with by Facebook, Twitter, Snapchat, Whatsapp and Instagram. As for all of my generation, what mobile technologies bring to humanity is both fascinating and intimidating. Were I to find myself in conversation with Denzler’s young woman, I’d be interested to know whether she could conceive of life before smartphones. And if I said something stupid like “Well, in my day, we didn’t have such technology.” I am certain she would simply look up from the screen for a second or two, look my squarely in the eye and say politely “But it’s not your day!”

Jeff Schaller: Popping Back to Switzerland

Jeff Schaller 8

“Lindt” Beeswax paint on wood, 61cm x 61cm

Geneva’s queen of pop, Isabelle Dunkel has enticed Jeff Schaller back to Switzerland for his seventh exhibition here. I arrive at Galerie ID as the doors open. I first spy a beautifully executed pop image comprising nods to Swiss chocolate, a black and white film that I should know the name of and a hugely successful British TV comedy series. I stroll around. This show is classy, cool and consistent. Each work is immaculately framed and hung. But the maestro is yet to arrive; the normally unflappable Ms Dunkel shows a flicker of anxiety.

Jeff Schaller 9

“Swiss Miss” Acrylic and screen print on wood, 28cm x 28cm.

The Schaller family roll in a few minutes after fashion o’clock. Jeff and Désirée greet me warmly. Their three young’uns are immaculately turned out for the occasion and immaculately polite.

Jeff explains his European translation of the themes he would normally pick out with his trademark encaustic (hot beeswax paint) technique. He still “takes something and adds to it.” To images of beautiful women (this time, Brigitte Bardot,) his dots and screen prints he now adds skis, snow, Fellini movies, Absolutely Fabulous and… well… Switzerland in general. I find this refreshing (and deliciously un-Swiss!) given that “Pop Art” has been so firmly drenched in JFK, Marilyn, Stars and Stripes, Harley Davison, Coca-cola etc. This transatlantic sleight of hand still recalls the pop era but the fact that it is here in Geneva now means Jeff’s work has deftly shifted from retro to contemporary and so, most probably, is in a class of its own. I love it.

Jeff Schaller 10

“Geneva Geneva” Acrylic and screen print on wood, 28cm x 28cm

There is also a technical transition. Bringing the exhibition from the USA has demanded some smaller pictures to which encaustic is less suited. This has pushed Jeff to experiment with heated acrylic. The results are no less accomplished.

Jeff Schaller 11

“Helvetica.CH” Acrylic and mixed media, 33cm x 33cm

The picture that catches my eye, causes a double-take and draws a smile is “Helvetica.CH.” This is a delightful tongue-in-cheek take on one of the world’s most commonly used typefaces, Helvetica, developed in Switzerland (of course.)

The exhibition is very satisfying; it just comes together nicely. It is unique in that it represents American “pop art” at its approachable best but nourished by Europe. The exhibition runs until the end of May. No excuses!

David Hockney at Tate Britain: To Go or Not to Go?

David Hockney 1

David Hockney’s paintings never really grabbed me. I was familiar with some of his iconic yet dissimilar works such as We Two Boys Together Clinging and A Bigger Splash. I knew both were considered “important” but never really knew why. I couldn’t get too enthusiastic about his 2012 exhibition at the Royal Academy.

Tate Britain in London announces it is showing the first ever exhibition that covers the sixty years of Hockney’s work. After some reflection, I get on a plane.

The exhibition is causing quite some excitement in the UK and even on the BBC. I am determined not to be swept up by the hype. If I am disappointed or confused by the exhibition, I am going to say so. Harsh critic, me! The day does not start well. Yesterday’s visit to the dentist is proving painful. I am crammed in a commuter train. It is cold and raining hard. I arrive at Tate Britain fifteen minutes before the doors open. A crowd has already gathered. Friendly staff eventually unlock and let us all in. We drip our way across the marble floor to get in line to check our umbrellas and soaked coats. By the time I am in the first room of the exhibition, it is packed. A child is crying loudly. At this point, I consider walking out. But, with aching jaw, I decide to shuffle along with the rest of middle-class England. A man in a tweed jacket say to his wife “He was gay, you know!” She replies “Well, never mind, dear!”

The exhibition occupies twelve spaces arranged by chronolgy and/or influences. After my first tour, I go around again with the audio guide. I buy the handsome 270-page catalogue. I return the following day. This show is monumental in its scope and presentation. It contains some exceptionally beautiful pictures. To say I am bowled over is an understatement. Exhibitions will never be the same. Tate Britain makes manifest something about David Hockney that has previously eluded me; that he is Britain’s best-known living picture-maker because he is a towering genius. Yes, my opinion is modified somewhat!

We have to be “wowed” these days. As (or if) you view the Hockney exhibition, do not expect to be wowed by everything. Do not even expect to be wowed by the majority of his pictures; you will be wowed by some. What will certainly wow you is to reach the final space having glimpsed the sixty year creative trajectory and the staggering output of a man whose life is dedicated not only to picture-making but also, and more importantly, to addressing the inadequacies of all means of picture–making when it comes to representing in two dimensions the world we see and move in. My road to Damascus moment comes after viewing and reviewing Hockney’s life, influences and pictures along and in light of this trajectory.

David Hockney 2

“We Two Boys Together Clinging” 1961 Oil on board 122cm x 152cm

The first room (A Play Within a Play) establishes a critical element of Hockney’s work. This is that a person’s visual perception of the picture is taken into account; the spectator is challenged, intrigued, amused, teased, confronted or manipulated. The collection from the early 1960s in the second room (Demonstrations of Versatility) amply demonstrates the 25 year-old Hockney’s disdain for painting’s protocols and etiquette and his rejection of social convention. His work at that time has been labelled both “pop” and “abstract expressionism.” In Hockney’s view, neither term applies. The paintings outrageously promulgate his homosexuality at a time when it was illegal. They are difficult to like. However, they show that whatever trajectory young Hockney was on, it was never going to be ordinary.

The next three rooms (Paintings with People In, Sunbather and Towards Naturalism) show Hockney abandoning his previous style and slowly progressing towards naturalism. This phase is closely linked to his love affair with California which began when he moved there in 1964. Expansive canvases show illusional domestic scenes, couples in relationships, sun-blessed swimming pools, light on water and glass, bare-bottomed young men, palm trees and a squeaky clean suburban Los Angeles. The later paintings are precisely executed. He waves two fingers at the Abstract Expressionists when he points out that the splash of his A Bigger Splash was meticulously painted with a small brush over weeks.

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A Bigger Splash 1967 Acrylic on canvas 242cm x 244cm

In the last of these three rooms are two paintings that in different ways reveal the full extent of Hockney’s technical mastery of painting. Mt. Fuji and Flowers (1974) and Contre-Jour in the French Style (1974) are both mesmerisingly beautiful.

The exhibition leads us on to a room (Close Looking) that contains sketches from Hockney’s extensive travels and some truly exquisite drawn portraits. They provide a welcome break from the preceding huge canvases. This room is particularly popular with other viewers; they take much longer to stop and discuss. It prepares us for what comes next (A Bigger Photography.)

David Hockney 4

The Scrabble Game 1983 Photographic collage 99cm x 147cm

Hockney found photography an inadequate means to make pictures. He felt it was limited by the one-point perspective and the “frozen moment” of the image. Allowing himself the influence of cubism, he embarked on a process involving hundreds of photographs per work that resulted in some of the most arresting pictures – including portraits – ever produced by this medium. Fast forward four rooms to The Four Seasons (2010-2011.) On each wall of a square hang nine crystal-clear video screens that show a coordinated nine-screen-slo-mo-scene of the same English country lane; but each wall is dedicated to one of the four seasons. I am captivated and abandon any attempt to find adequate words. I steal them from the catalogue: “high-def post cubist movie”! And Hockney’s extraordinary digital adventure has only just begun!

The three intervening rooms (Experiences of Space, Experiences of Place and The Wolds) comprise large brightly coloured canvases painted from the early 1980s through to 2009. People move past them quickly. Experiences of Space is strongly influenced by Picasso and Chinese scroll painting as Hockney freely admits. These paintings also reflect Hockney’s interest in the design of theatre sets. Perspective is flattened and one’s eye is forced to move around the fragments of the composition. The provenance of Experiences of Place is Hockney’s draw to wide open spaces. It is the least approachable part of the whole exhibition. The three garish renditions of the Grand Canyon do not work as landscape pictures. The Wolds brings Hockney back to England. These large, bright, multi-canvas, non-naturalistic landscapes are certainly intriguing but don’t set my senses a-buzz.

The penultimate room (Yorkshire and Hollywood) contains 25 closely mounted, stunning charcoal drawings from 2013 of a springtime Yorkshire woodland. Shortly after their completion, Hockney returned to his home in Hollywood where, in 2015, he completed his most recent large canvases of his garden and famous blue balcony. Hockney is now 80 years old. Is the juxtaposition of the spring drawings with these paintings to be seen as a kind of beginning and end? Are we about to arrive in the final scene of an epic film?

I stand in the middle of the last room (iPads) surrounded by his digital paintings done between 2009 and 2016. Some evolve as I watch. I am enthralled as an original Hockney of a small cactus in a red pot in a blue mug on a yellow tablecloth appears in front of me over two minutes. Every style, subject, influence and medium finds its way onto these screens. His extraordinary trajectory is encapsulated here. It is the most brilliant summary of his life’s work and of the exhibition. It is also his legacy. However, I suspect Hockney’s trajectory is yet to come to ground. Whilst this room may, in reality and metaphorically, represent the final scenes of Hockney’s blockbuster, there is a hint of more to come; another episode. A bigger exhibition even?

So, here’s what I think. This is the most important, beautiful and satisfying exhibition you will see. Go! Even if you are determined to dislike or dismiss Hockney’s work, go! Mix with the crowd! Get stuck in! Lap it all up! Be outraged! Be awed!

All images of David Hockney’s work are reproduced here thanks to Tate Britain.

The poet who saved St Pancras station

St Pancras station 1

Copyright: Hufton & Crow

St Pancras station, London. It’s many years. I had forgotten just how huge it is. The exterior is now impeccably maintained and inside there are clean brick walls and arcades of shiny, stylish boutiques. I wander around marvelling at the elaborate Victorian architecture and the massive iron vaulting of the train-shed roof. In its day, it was known as the cathedral of British Railways and would have been full of the noise, smoke and steam of the great trains of that era.

St Pancras station 2

On the upper level of the concourse, I find a wonderful bronze statue of my very favourite poet, the Poet Laureate Sir John Betjemen (1906-1984.) He is depicted as a friendly, academic, rather paunchy figure in a well worn three piece suit with tie askew and coat tails flapping. He has to hang onto his hat to gaze up in awe at Barlow’s girdered sky. He foregoes a briefcase for a canvas hold-all in which, I imagine, there are reams of paper with all sorts of lines about seaside golf and Miss Joan Hunter Dunn. He looks like such a nice old guy. I am sure that a conversation with him would have been a life-enriching experience. Here, he stands on a flat disc of Cumbria slate inscribed with lines from Cornish CliffsAnd in the shadowless unclouded glare / Deep blue above us fades to whiteness where / A misty sea-line meets the wash of air. 

St Pancras station 3

Betjemen was fascinated by the architecture and railways of Victorian times. In the 1960s, a plan to demolish St Pancras station was unveiled. He referred to this as “criminal folly.” He is now considered instrumental in the campaign that saved this great London landmark. In 2007, when the station became the international terminus for Eurostar, the sculpture was commissioned as a tribute to him.

This beautiful and touching sculpture is the work of Oxford-based Martin Jennings. His figurative style has led him to undertake similar public works of other great names including Charles Dickens and Philip Larkin. His subjects are not exclusively from the literary world, he has also commemorated in bronze the lives of two people who in different ways have advanced care for people wounded in conflict; namely, the Jamaican-born nurse, Mary Seacole who assisted wounded servicemen in the Crimean War and the World War II plastic surgeon, Archibald McIndoe.

On leaving St Pancras, I notice that a bar in the corner is called…. guess what….. “The John Betjemen”! To be remembered by a fabulous public sculpture and to have a bar bearing one’s name is a double honour. Then I guess you merit both if you wrote wonderful poems and saved a station.